■ The performance group, Mikuni values Japanese themes and way of expression.
I am very interested in their approach that goes against the current trend of assimilating
western culture and styles for any matter.
I hope that such Japanese themes and way of expression can be properly retained
and transmitted to overseas areas through their activities.

 (Comment by Hakudai Yamano, dance performance reviewer, quoted from TOKYO DANCE SQUARE)


■ The story of “Sotobakomachi” unfolded through dancing, based on the dialogue of Utai,
Japanese traditional songs, which were sung by Tomoko Okubo who also plays Sangen,
and Jujiro Maegawa.
As the work is a masterpiece of Noh, the lines of the songs are powerful and I could fully
enjoy even scenes without dance.
The staging to straightly show the atmosphere of Noh worked successfully when Shigeki Yamada,
a main dancer appeared on the stage in a later scene and performed a solo.
He danced as a woman at first and then transformed into a man.
At the moment when he showed the transformation from a female person into a male person,
not as a double role, the pathos and emotion of the legendary beautiful woman, Sotobakomachi,
changed into mystic breath of air looming out of her genitals and began to hover around the stage.
I could read the attempt to invite the audience to the “subtle and profound world”.

(Comment by Yuko Ijichi, dance performance reviewer, quoted from TOKYO DANCE SQUARE)
[“Sotobakomachi” at Oribe Hall, Roppongi, Tokyo, on Dec. 7 – 9, 2007]

■Singing of Jujiro Maegawa with overwhelming voice and his production, scenario and musics,
choreography by Niina Maeda, songs and Sangen (stringed musical instrument) by Tomoko Okubo
and beats of Japanese drum.
Songs by Maegawa and Okubo told the story, and the solo dance by Yamada fiercely represented a man,
and later a woman in pure white undergarment.
Strong impact was given by the armor of the defeated warrior, the surface of which was filled with several pairs of sneakers.
I was keenly inspired with "primitive feeling" in every aspect of visual sense, rhythm, voice and story.

(Comment by Koichi Sekiguchi, dance performance reviewer, quoted from CHACOTTO Internet Magagine)

Performance Part I "Maroudo"

■ The dance defied any categorization.
The simple but elaborated physical movements without hesitation were a style of expression
and at the same time, a shock.
This performance made me think if there is a physical language, it may be this sort of thing.

(Comment by Shinichiro Ookura, Personality of FM J-WAVE, quoted from the official weblog of his radio program)

■ The theme of “Shisha no Sho” has ever been challenged and found difficult by some artists,
but this group succeeded in putting it into shape without difficulties.
It is probably because of their acoustic technology, a wide variety of music used for this work,
and the group’s stance behind their stage production aiming to create visually interesting stages regardless of genre.
Over a half-century ago, people in Japan attempted to create new performing arts by producing works with various elements of Japanese as well as Western cultures, and then laid a path to a new age.
This group also involves itself into such really challenging theme.

(Comment by Yukihiko Yoshida, dance performance reviewer, quoted from TOKYO DANCE SQUARE)

Performance Part II "Maga"

■ You can purely enjoy every part of the stage.
You feel pent-up emotions emerging and cannot hold back your desire for expression.

(Comment by Shinichiro Ookura, Personality of FM J-WAVE, quoted from the official weblog of his radio program)

■ Mikuni is pursuing the possibility of performing arts by skillfully incorporating present-day
instruments and acoustic environment.
Their attempt comes to be overlapped with themes to which Japanese artists addressed in early-modern age.
I may not be the only person who could feel bright and lively spiritual beats from the expressions on the artists' faces .

(Comment by Yukihiko Yoshida, dance performance reviewer, quoted from TOKYO DANCE SQUARE)

2011.10.02 ケルン天理文化工房 出演 Kölner Stadt-Anzeiger (ドイツ・ケルン新聞 掲載記事 )

2011.10.11 Gallery DEN出演 Westhavelländer (ドイツ・ブランデンブルグ州の新聞 掲載)
 今回のバニザージ(ギャラリーDEN Berlin)は、未國がパフォーマンスを行った。謡(前川十之朗)と人形(前田新奈)と云うシンプルな構成だったが、現代が伝統と出会う豊かな時間を提供してくれた。

07.3.28 三軒茶屋グレープフルーツムーン 所見“未國 卒塔婆小町”  舞踊批評家 やまの はくだい

07.12.08. 六本木オリベホール 所見 “幻夜の戀” (卒塔婆小町)  舞踊批評家  関口紘一

08.11.28 吉祥寺シアター所見 “稀人” (折口信夫 死者の書より) 舞踊批評家 吉田悠樹彦
 今日のメディア文化の中でも同じようにアーティストたち民衆の芸能は電子メディアを通じて自由に発信をしている。この舞台をコンサートと芝居や踊りの境界線としてみてみるとプログラッシヴな要素もみえてくる。すなわち今日の楽器や演奏環境をたくみに取り入れながらライブアーツの可能性を実践を通じて追求しているのだ。そしてその試みは近現代に日本人が取り組んできたテーマとも重なってきている。アーティストたちの表情に未知の表現形式を探求しているような明るいいきいきとした精神の鼓動を感じたのは私だけではないだろう。(コルプス掲載 書苑新社)

2011.06.04 Theater Haus Berlin Mitte “GENBAKU Onomatopoeia”  ライター 東郷晴也(ベルリン)
 この作品は3.11の震災、そして原発が引き起こした問題とはそもそもなんの関係もない。たまたまこのタイミングの発表になっただけだ。『未國〜mi-kuni』は「原爆が落ちた」という事実を、少女の霊と老人の関係を通して淡々と伝え、少女が感じた恐怖と今を生きる老人に残る思い出をステージで再現していく。戦争経験者が語るような明確なストーリーはそこにはないが、原爆が落ちたその時と、現在にも深く残る爪痕を感じた。様々なオノマトペで彩られた”GENBAKU Onomatopoeia”を観て、原爆投下の事実を追体験するような、不思議な感覚を持った。世代はこれからも少しずつ少しずつ変わっていく。原爆を経験した者はいつかいなくなってしまう時が来るだろう。その時、私たちには何ができるのだろうか。『未國〜mi-kuni』のパフォーマンスは「記憶を伝える方法は文字だけではない」と強く訴えていた。(la-condition-japonaise)


■Songs of Jujiro Maekawa and the stage by Mikuni have the power of vibrating
“memories of ancient times” which remain dormant deep inside us.

(Comment by Taki Ito, Japanese folk singer and part-time lecturer of Tokyo University of Agriculture)

■Mikuni is a cross-genre performance group of up-and-coming artists.
I really anticipate next actions of this group standing in the center of attentions.

(Comment by Yoko Narahashi, film director and Hollywood casting director)